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Still shrink wrapped but opened.
Cover with a beginning seam split at the upper edge.
Records are slightly warped but still enjoyable.
Includes original insert.

SIgned copies. Special Collector's Edition 12" Vinyl Version with custom artwork, sticker and gold (150 count) or color splashed (150 count) vinyl record.

Special Collector's Edition 12" Vinyl Version with custom artwork, sticker and gold (150 count) or color splashed (150 count) vinyl record.

Midnight Marauders is the third studio album by A Tribe Called Quest, released on November 9, 1993. It is widely regarded as one of the greatest hip-hop albums of all time, known for its sophisticated jazz-infused production, smooth lyricism, and impactful social commentary. The album helped cement A Tribe Called Quest as pioneers of the alternative hip-hop movement.

Midnight Marauders continues the group’s fusion of jazz samples and boom-bap beats, much like their previous album, The Low End Theory. However, the production on Midnight Marauders is tighter, more polished, and showcases a richer sound with more layers of sampling and instrumentation.
The album features both Q-Tip (Kamaal Ibn John Fareed) and Phife Dawg (Malik Taylor) at the height of their lyrical powers. Q-Tip delivers introspective, philosophical verses with his signature smooth, laid-back delivery, while Phife Dawg provides sharp, witty, and streetwise commentary, offering a perfect contrast to Q-Tip’s style.

The album addresses a range of topics, from the complexities of Black identity and the state of hip-hop to reflections on love, competition, and the music industry. The lyrics are often intellectual yet grounded in everyday experiences, making them accessible and thought-provoking.
The themes in the album extend to the critique of societal issues like police brutality and systemic racism, but they are presented in a conversational, unpretentious manner.

Key Tracks and Highlights:
"Award Tour" (featuring Trugoy from De La Soul) – One of the album’s biggest singles, this track celebrates Tribe’s success while maintaining a humble, down-to-earth tone. It’s driven by a catchy, upbeat beat and has an infectious hook.
"Electric Relaxation" – A classic, smooth track known for its laid-back vibe and jazzy production. The song features witty, flirtatious lyrics, where both Q-Tip and Phife Dawg reflect on relationships and romance. It remains one of the group’s most popular songs.
"Oh My God" (featuring Busta Rhymes) – A high-energy track that blends frantic, lively production with sharp lyricism from Q-Tip and Phife, while Busta Rhymes brings his signature hype-man energy on the chorus.
"Sucka Nigga" – In this controversial track, Q-Tip delves into the history of the N-word, its reclamation, and the complexities of language in African American culture. The track is a reflective and thought-provoking commentary on racial identity.
"We Can Get Down" – A track that highlights the camaraderie between Q-Tip and Phife Dawg as they rap about friendship and mutual respect, reinforcing the tight bond within the group.
"Clap Your Hands" – With its boom-bap beat and jazz-heavy instrumentation, this track is a quintessential Tribe song, showcasing their ability to create music that is both catchy and intellectual.

Midnight Marauders was produced by A Tribe Called Quest themselves, with the assistance of their longtime collaborator Ali Shaheed Muhammad. The production continues to focus on sampling jazz records, but it’s more refined, with a greater emphasis on layered sounds, creating a warmer, fuller sonic experience.
The album also features funk, soul, and R&B influences, giving it a dynamic, genre-blending feel that set it apart from the more sample-heavy hip-hop albums of the time.

Midnight Marauders was both a critical and commercial success, debuting at #8 on the Billboard 200 and receiving widespread acclaim for its innovative production and insightful lyricism. Critics praised the album for its balance of jazz-inflected beats and clever wordplay, as well as its thoughtful approach to social issues.
The album is often included in "greatest albums" lists and is considered one of the essential works of 90s hip-hop. It influenced a wide range of artists, from Kendrick Lamar to J. Cole, and helped solidify A Tribe Called Quest’s legacy as one of the most innovative and impactful groups in hip-hop history.

Midnight Marauders represents the perfect blend of jazz, hip-hop, and social commentary, with A Tribe Called Quest striking a balance between intellectual exploration and accessible, feel-good music. The album’s cohesive sound, sharp lyricism, and cultural relevance have made it a cornerstone of hip-hop and one of the genre’s most beloved records.

Limited to 1000 copies for the European market.

Music by Madlib, arranged by Kieran Hebden, better known as Four Tet. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

In 2018, Meyhem Lauren teamed up with Brooklyn-based producer Harry Fraud to bring you Glass. The original 9-track project featured Action Bronson, Westside Gunn, Conway the Machine, Big Body Bes and more. For Glass 2.0, the duo went back to the archives and as the quarantine started, they began to revisit all of the music they recorded together while recording the original Glass. “Meyhem and I had some new records and a bunch of demos and that we hadn't done post-production on yet. Over the course of about a week in May, I locked in and pretty much tore the songs apart production wise. Then rebuilt them into what would become Glass 2.0” – Harry Fraud “Me and Fraud had a bunch of unfinished music in the stash that was recorded during the time that we made the original Glass project. During quarantine extra spices were added and a new dish was born. To make a long story short, sometimes the leftovers taste better than the initial meal.” – Meyhem Lauren While the majority of Meyhem’s vocals were recorded in 2017-2018, Harry Fraud’s tailor-made production of each song gives Glass 2.0 a sound and style unique from its predecessor. While the second installment of Glass only features Big Body Bes and Bags, this leaves plenty of time for Meyhem to showcase his lyrical ability, which is especially sharp on “Poseidon’s Wrath”, “Root of Evil” and “Yucca” (all previously unreleased in any format). A respected staple of the modern underground hip-hop scene, Meyhem Lauren is no stranger to the game. Having been on the scene since the mid-2000s, Meyhem is best known for blending his “luxury rap” flows over production reminiscent of 90s east coast hip-hop. Throughout his career, he has worked closely alongside DJ Muggs of Cypress Hill, Madlib, Freddie Gibbs, Czarface, Sean Price, Roc Marciano, J-Love, and his childhood friend, Action Bronson. Their friendship is evident in the Viceland television show F*ck, That’s Delicious, in which Meyhem is featured alongside Action in each of the episodes. Harry Fraud’s production first popped off on “New York Minute” for French Montana before the two delivered the breakout “Shot Caller” in 2011. A string of influential Harry Fraud-produced songs and records followed, including tracks for The Weeknd, Sam Smith, A$ap Rocky, Wiz Khalifa, Lil Peep, Action Bronson, Benny the Butcher and more. Meyhem and Harry have proven to be a perfect match and Glass 2.0 is sure to be an instant fan favorite.

King Tone aka Alamo (born Wilfredo Nunez) is a hip hop musician, born and raised in Providence, Rhode Island. Inspired by the golden age of hip hop, Tone gained an interest in music at a time when groups like N.W.A, Public Enemy and EPMD were pushing boundaries.



By 1991, when Tone had already written and recorded numerous projects independently, he was introduced to "Lenny Grace" aka "AFTAMAF" another local MC/Producer from the Providence Area which was the beginning of a lifelong friendship. Aftamaf's ability to create music using everything from live instruments, to the SP-12 and MPC paired with King Tone's "paint you a picture you can listen to" kind of flow proved to be the perfect combination. They were able to create classics like "Rhyme and Punishment" and "Victims of da Streets" in 1997 along with countless other hip-hop gems that remain unreleased. Around that time "MAF" went on to become one of the founding members of Blank Fasiz and D.U.N.A.T Productions while Tone continued to pursue his career as a solo artist.

With I Will Make a Baby in this Damn Economy, Fat Tony embodies the kind of quixotic figure he would rap about; a singular entity who’s motivated, confident, and hungry; a perpetual-motion-machine locked in a staring contest with his country. It’s the latest album in his catalog produced entirely by L.A-based producer Taydex since 2020’s Wake Up. Later that same year Fat Tony released Exotica, and ever since he’s demonstrated he is in his own lane as a professional rapper with the mind of a magician, as quick to conjure an image as pull it out from under you, deftly manoeuvring through so many details and references a listener feels as if they have witnessed the work of an illusionist. He paints these canvases inside of songs that rarely spill past three minutes; they’re pocket-sized diaries replete with acute observations, character studies, microdoses of storytelling, and single-minded ruminations on a topic that bud, blossom, and fade before too long. Fat Tony & Taydex’s I Will Make a Baby in this Damn Economy cements Tony’s status as someone whose albums are not so much lyrically-lyrical as they are picaresque.

As with any Fat Tony project, the bars are tight as ever, but are so fluid for the 34-year-old it’s almost easy to take for granted the details, warmth, and humanity inside his free-associative tales of day-one friends who’ve passed, edgelord grifters who want to spit game, and nights on ketamine. Taydex’s production sprints through disparate yet simpatico styles, dipping its toes into Pi’erre Bourne-esque bass (see lead single “Spectacular”), house (“Loosen Up”), and even hyperpop. Meditations on loss and grief are woven throughout, but Tony throws a few curveballs as well: Consider “Alexis,” which sweetly reflects on a long-term platonic friendship. Taydex finds a Teddy Riley-indebted New Jack Swing groove just deep enough for the feeling to land and underlines the song’s sincere candor. This is the appeal of Fat Tony writ-large: his boisterous voice and genial personality invite you to the party, then you stick around to hear what he’s saying, which is frequently more introspective and complex than one assumes.

Written and recorded in Taydex’s new studio in North Hollywood, Tony says, “We had much more freedom and flexibility in making this album and you can hear it. It felt like a family project.” If the album is comfortable and loose, it is also dense and substantial. The album’s final two tracks contextualize the immediacy of what came before it—the mezcal with ices drank, Paul Wall swangin’ through to drop knowledge, the Polaris Prize-winning rapper Cadence Weapon providing a vibe check. “Make a Baby” accounts for Tony who’s seen everything, and knows he’s met the one to be a father with, and yet chooses to take his time to get it done. Taydex’s beat recalls turn-of-the-century R&B and the millennial promise of an endless good time. Sombre closer “Jasper, TX” is Tony coming to grips with the story of James Byrd, Jr., a Black man from East Texas dragged to his death by three white supremacists in 1998. These songs are not only trademarks of Tony’s fastidious rapping—they are deeply personal examples of his approach to artistry and life itself, where every decision is made in the shadow of history.

It’s here the mission statement of I Will Make a Baby in this Damn Economy comes into focus—you get the sense he means it, he’s ready for it, he’ll fight for it. He’s waiting to take the world at its word.

lyricism, and impactful social commentary. The album helped cement A Tribe Called Quest as pioneers of the alternative hip-hop movement.

Midnight Marauders continues the group’s fusion of jazz samples and boom-bap beats, much like their previous album, The Low End Theory. However, the production on Midnight Marauders is tighter, more polished, and showcases a richer sound with more layers of sampling and instrumentation.
The album features both Q-Tip (Kamaal Ibn John Fareed) and Phife Dawg (Malik Taylor) at the height of their lyrical powers. Q-Tip delivers introspective, philosophical verses with his signature smooth, laid-back delivery, while Phife Dawg provides sharp, witty, and streetwise commentary, offering a perfect contrast to Q-Tip’s style.

The album addresses a range of topics, from the complexities of Black identity and the state of hip-hop to reflections on love, competition, and the music industry. The lyrics are often intellectual yet grounded in everyday experiences, making them accessible and thought-provoking.
The themes in the album extend to the critique of societal issues like police brutality and systemic racism, but they are presented in a conversational, unpretentious manner.

Key Tracks and Highlights:
"Award Tour" (featuring Trugoy from De La Soul) – One of the album’s biggest singles, this track celebrates Tribe’s success while maintaining a humble, down-to-earth tone. It’s driven by a catchy, upbeat beat and has an infectious hook.
"Electric Relaxation" – A classic, smooth track known for its laid-back vibe and jazzy production. The song features witty, flirtatious lyrics, where both Q-Tip and Phife Dawg reflect on relationships and romance. It remains one of the group’s most popular songs.
"Oh My God" (featuring Busta Rhymes) – A high-energy track that blends frantic, lively production with sharp lyricism from Q-Tip and Phife, while Busta Rhymes brings his signature hype-man energy on the chorus.
"Sucka Nigga" – In this controversial track, Q-Tip delves into the history of the N-word, its reclamation, and the complexities of language in African American culture. The track is a reflective and thought-provoking commentary on racial identity.
"We Can Get Down" – A track that highlights the camaraderie between Q-Tip and Phife Dawg as they rap about friendship and mutual respect, reinforcing the tight bond within the group.
"Clap Your Hands" – With its boom-bap beat and jazz-heavy instrumentation, this track is a quintessential Tribe song, showcasing their ability to create music that is both catchy and intellectual.

Midnight Marauders was produced by A Tribe Called Quest themselves, with the assistance of their longtime collaborator Ali Shaheed Muhammad. The production continues to focus on sampling jazz records, but it’s more refined, with a greater emphasis on layered sounds, creating a warmer, fuller sonic experience.
The album also features funk, soul, and R&B influences, giving it a dynamic, genre-blending feel that set it apart from the more sample-heavy hip-hop albums of the time.

Midnight Marauders was both a critical and commercial success, debuting at #8 on the Billboard 200 and receiving widespread acclaim for its innovative production and insightful lyricism. Critics praised the album for its balance of jazz-inflected beats and clever wordplay, as well as its thoughtful approach to social issues.
The album is often included in "greatest albums" lists and is considered one of the essential works of 90s hip-hop. It influenced a wide range of artists, from Kendrick Lamar to J. Cole, and helped solidify A Tribe Called Quest’s legacy as one of the most innovative and impactful groups in hip-hop history.

Midnight Marauders represents the perfect blend of jazz, hip-hop, and social commentary, with A Tribe Called Quest striking a balance between intellectual exploration and accessible, feel-good music. The album’s cohesive sound, sharp lyricism, and cultural relevance have made it a cornerstone of hip-hop and one of the genre’s most beloved records.

lyricism, and impactful social commentary. The album helped cement A Tribe Called Quest as pioneers of the alternative hip-hop movement.

Midnight Marauders continues the group’s fusion of jazz samples and boom-bap beats, much like their previous album, The Low End Theory. However, the production on Midnight Marauders is tighter, more polished, and showcases a richer sound with more layers of sampling and instrumentation.
The album features both Q-Tip (Kamaal Ibn John Fareed) and Phife Dawg (Malik Taylor) at the height of their lyrical powers. Q-Tip delivers introspective, philosophical verses with his signature smooth, laid-back delivery, while Phife Dawg provides sharp, witty, and streetwise commentary, offering a perfect contrast to Q-Tip’s style.

The album addresses a range of topics, from the complexities of Black identity and the state of hip-hop to reflections on love, competition, and the music industry. The lyrics are often intellectual yet grounded in everyday experiences, making them accessible and thought-provoking.
The themes in the album extend to the critique of societal issues like police brutality and systemic racism, but they are presented in a conversational, unpretentious manner.

Key Tracks and Highlights:
"Award Tour" (featuring Trugoy from De La Soul) – One of the album’s biggest singles, this track celebrates Tribe’s success while maintaining a humble, down-to-earth tone. It’s driven by a catchy, upbeat beat and has an infectious hook.
"Electric Relaxation" – A classic, smooth track known for its laid-back vibe and jazzy production. The song features witty, flirtatious lyrics, where both Q-Tip and Phife Dawg reflect on relationships and romance. It remains one of the group’s most popular songs.
"Oh My God" (featuring Busta Rhymes) – A high-energy track that blends frantic, lively production with sharp lyricism from Q-Tip and Phife, while Busta Rhymes brings his signature hype-man energy on the chorus.
"Sucka Nigga" – In this controversial track, Q-Tip delves into the history of the N-word, its reclamation, and the complexities of language in African American culture. The track is a reflective and thought-provoking commentary on racial identity.
"We Can Get Down" – A track that highlights the camaraderie between Q-Tip and Phife Dawg as they rap about friendship and mutual respect, reinforcing the tight bond within the group.
"Clap Your Hands" – With its boom-bap beat and jazz-heavy instrumentation, this track is a quintessential Tribe song, showcasing their ability to create music that is both catchy and intellectual.

Midnight Marauders was produced by A Tribe Called Quest themselves, with the assistance of their longtime collaborator Ali Shaheed Muhammad. The production continues to focus on sampling jazz records, but it’s more refined, with a greater emphasis on layered sounds, creating a warmer, fuller sonic experience.
The album also features funk, soul, and R&B influences, giving it a dynamic, genre-blending feel that set it apart from the more sample-heavy hip-hop albums of the time.

Midnight Marauders was both a critical and commercial success, debuting at #8 on the Billboard 200 and receiving widespread acclaim for its innovative production and insightful lyricism. Critics praised the album for its balance of jazz-inflected beats and clever wordplay, as well as its thoughtful approach to social issues.
The album is often included in "greatest albums" lists and is considered one of the essential works of 90s hip-hop. It influenced a wide range of artists, from Kendrick Lamar to J. Cole, and helped solidify A Tribe Called Quest’s legacy as one of the most innovative and impactful groups in hip-hop history.

Midnight Marauders represents the perfect blend of jazz, hip-hop, and social commentary, with A Tribe Called Quest striking a balance between intellectual exploration and accessible, feel-good music. The album’s cohesive sound, sharp lyricism, and cultural relevance have made it a cornerstone of hip-hop and one of the genre’s most beloved records.

Music by Madlib, arranged by Kieran Hebden. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others.

From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio.

His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities.

Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class.

Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

Initially released in 2016 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice Two: Still Buggin' is finally available to fans everywhere. The second in a series of EP releases, Lice Two: Still Buggin' featured production from Dan Hayden, Mondee, Aesop Rock, SoberMindedMusiC and Mono En Stereo. The original cover art was designed by renowned illustrator Jeremy Fish.



Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Brooklyn Bred MC and Independent Artist, Kota the Friend, continues to stake his claim in music, collaborating for a no frills, modern nostalgic, sharp, yet witty collaborative album with the legendary DJ, Statik Selektah. ‘To Kill A Sunrise’ arrives via Fltbys Music and Entertainment, accompanied with an introductory visual Kota and Statik released in celebration of the album. A sonic paring that’s been brewing for a few years now, ‘To Kill A Sunrise’ is a PSA, -- as Kota the Friend chants on the opening track ‘I ain't the Kota you first met… I. Can’t. LOSE.’ The confident, independent MC, over the masterful production of Statik Selektah introduces a more seasoned musician, locking his view on success, stepping out of his own way and over all those who doubt the makings of an undeniable voice of a generation. Coming off his ninth studio album, Statik Selektah takes a swing with Kota the Friend. An early co-sign and friendship has produced one of the promising rising MC’s from Brooklyn. Statik’s unique ear and keen eye for talent has made him an undeniable force for both rising rappers and legends. Staying authentic and true to himself, Statik speaks on why this collaboration was essential for hip-hop, saying: The pair show no signs of stopping. Aside from his own music, Statik has continued to make noise through the airwaves on his weekly Thursday night show “ShowOff Radio” on Shade 45 Sirius XM. In addition, he has toured all over the world DJing at festivals or backing music heavyweights like Q-Tip and Nas. From taking on independence and ownership (as discussed with The Wsj), to receiving co-signs from SZA to NoName, including LaKeith Stanfield, Erykah Badu, RZA and many others -- Kota the Friend continues to produce his own music, content, and shows under his label, Fltbys, showing how ‘pressure makes a diamond and depression makes a legend’.

lyricism, and impactful social commentary. The album helped cement A Tribe Called Quest as pioneers of the alternative hip-hop movement.

Midnight Marauders continues the group’s fusion of jazz samples and boom-bap beats, much like their previous album, The Low End Theory. However, the production on Midnight Marauders is tighter, more polished, and showcases a richer sound with more layers of sampling and instrumentation.
The album features both Q-Tip (Kamaal Ibn John Fareed) and Phife Dawg (Malik Taylor) at the height of their lyrical powers. Q-Tip delivers introspective, philosophical verses with his signature smooth, laid-back delivery, while Phife Dawg provides sharp, witty, and streetwise commentary, offering a perfect contrast to Q-Tip’s style.

The album addresses a range of topics, from the complexities of Black identity and the state of hip-hop to reflections on love, competition, and the music industry. The lyrics are often intellectual yet grounded in everyday experiences, making them accessible and thought-provoking.
The themes in the album extend to the critique of societal issues like police brutality and systemic racism, but they are presented in a conversational, unpretentious manner.

Key Tracks and Highlights:
"Award Tour" (featuring Trugoy from De La Soul) – One of the album’s biggest singles, this track celebrates Tribe’s success while maintaining a humble, down-to-earth tone. It’s driven by a catchy, upbeat beat and has an infectious hook.
"Electric Relaxation" – A classic, smooth track known for its laid-back vibe and jazzy production. The song features witty, flirtatious lyrics, where both Q-Tip and Phife Dawg reflect on relationships and romance. It remains one of the group’s most popular songs.
"Oh My God" (featuring Busta Rhymes) – A high-energy track that blends frantic, lively production with sharp lyricism from Q-Tip and Phife, while Busta Rhymes brings his signature hype-man energy on the chorus.
"Sucka Nigga" – In this controversial track, Q-Tip delves into the history of the N-word, its reclamation, and the complexities of language in African American culture. The track is a reflective and thought-provoking commentary on racial identity.
"We Can Get Down" – A track that highlights the camaraderie between Q-Tip and Phife Dawg as they rap about friendship and mutual respect, reinforcing the tight bond within the group.
"Clap Your Hands" – With its boom-bap beat and jazz-heavy instrumentation, this track is a quintessential Tribe song, showcasing their ability to create music that is both catchy and intellectual.

Midnight Marauders was produced by A Tribe Called Quest themselves, with the assistance of their longtime collaborator Ali Shaheed Muhammad. The production continues to focus on sampling jazz records, but it’s more refined, with a greater emphasis on layered sounds, creating a warmer, fuller sonic experience.
The album also features funk, soul, and R&B influences, giving it a dynamic, genre-blending feel that set it apart from the more sample-heavy hip-hop albums of the time.

Midnight Marauders was both a critical and commercial success, debuting at #8 on the Billboard 200 and receiving widespread acclaim for its innovative production and insightful lyricism. Critics praised the album for its balance of jazz-inflected beats and clever wordplay, as well as its thoughtful approach to social issues.
The album is often included in "greatest albums" lists and is considered one of the essential works of 90s hip-hop. It influenced a wide range of artists, from Kendrick Lamar to J. Cole, and helped solidify A Tribe Called Quest’s legacy as one of the most innovative and impactful groups in hip-hop history.

Midnight Marauders represents the perfect blend of jazz, hip-hop, and social commentary, with A Tribe Called Quest striking a balance between intellectual exploration and accessible, feel-good music. The album’s cohesive sound, sharp lyricism, and cultural relevance have made it a cornerstone of hip-hop and one of the genre’s most beloved records.

Since the early aughts, rapper Diabolic and producer Vanderslice have moved in similar circles, so it was only a matter of time that they would join forces for a collaborative record. With the release of Collusion, that time is now, and it couldn’t have arrived at a more perfect moment. The project eschews every trend and flash-in-the-pan style to create a record that’s a must-listen for anyone who truly appreciates sharp lyricism and neck snapping production.

“We’re two artists with 18 years of friendship, colluding to form a cohesive monster,” Diabolic says of working with Vanderslice. “The chemistry is automatic,“ he adds. “At first, we tested the waters to see if the chemistry was there, and if we could actually make a cohesive record, that we were both passionate about, and we did,” echoes Slice.

It’s apparent that Collusion is an absolute force when you hear opening track “Think of That,” a blistering banger featuring shots at his rivals, over Slice’s hypnotic production. And the remainder of the album hits just as hard, with tracks like the chest-thumping “Normalize,” the Nems featured heater, “See the Light,” the DJ Revolution-assisted “Simon Phoenix,” and the B-Side opener, “The Other Side,” which Vanderslice claims to be one of his toughest beats in years.

In addition to battle-ready bars and neck-breaking production, the lyrics and album title of course reference the nation’s current political climate. But the thing is, that wasn’t intentional for either collaborator. “The ‘political’ topics I touch on are just hints of what’s on my mind at the time” Diabolic explains. Adding to that, Vanderslice states: “You let the artist write and record whatever they want. It's my job to trim the fat and present it in it's absolute best light.” With the fat trimmed and everything in place, we're left with one of the most noteworthy rapper-producer collaborations of the year.
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“For fans old and new, they can expect to be reintroduced to some raw, authentic, classic Detroit Hip-Hop from beginning to end.”-Phat Kat on the Deluxe Edition re- release of “Carte Blanche”. Phat Kat’s phenomenal sophomore solo LP, “Carte Blanche”, fi rst released in ’07 via Look Records, is the sound of Detroit. It’s gritty, soulful, and raw, three key ingredients in bringing the blue-collar city’s vibe to life in music form. It’s also a modern classic that is getting the deluxe edition re-release it deserves, Below System Records is adding two rare bonus tracks produced by late Detroit legend, J Dilla. Anyone familiar with Kat or Dilla’s work knows the two shared a special bond. In fact, Dilla would often go to the gruff-voiced emcee whenever he was looking to create a particularly tough track. This friendship led to them forming the group 1st Down, and this re-release’s two bonus cuts, “World Premiere” and “It Don’t Get No Liver Than This (feat. La Peace),” which were recording in 1996 and ’97, respectively. Despite 1st Down never taking off due to label issues, Kat and Dilla remained close and recorded a number of underground classics. Those include several joints off “Carte Blanche”, such as the stirring “Don’t Nobody Care About Us”, “Game Time”, and the Elzhi-featured “Cold Steel”. It’s actually that last track that Kat picks as his favorite cut off the record. “If I gotta choose one, it would have to be ‘Cold Steel’ because it makes you wanna wild out as soon as the beat drops”, he says, adding that this was the fi rst time he got to choose a Dilla beat to rap over. “He would never let me rock over beat tape beats-he use to say ‘Nah Kat, just write to them cause I’m gonna make all ya shit from scratch.’ ” The album also boasts collaborations with other Detroit rap heavy-hitters, such as Black Milk, Guilty Simpson, Nick Speed, and T3 & Young RJ (of Slum Village). With Kat as their host, they were able to not only capture the sound of the Motor city in 2007 (when the album was originally released), but also cement its place in the greater canon of hip-hop as we know it today.

Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Triple Fat Lice is finally available to fans everywhere. The third in a series of EP releases, Triple Fat Lice featured production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish.



Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

The lead single from the highly sought-after “Travel At Your Own Pace” features the exclusive, previously unreleased B-side, “Pyramids”. This song includes a rare vocal appearance from Damu The Fudgemunk.

This the song's first official reissue and its first appearance pressed on a 45. Both songs packaged in full color double sided cover art.

Known to many as the group Y Society, Insight the Truncator and Damu the Fudgemunk celebrate 10 plus years of friendship and a creative partnership that hold the two in high esteem of their fans. The MC & producer's new 7" is a compelling display of why the duo have always been at the top of their game despite their reserved output since debuting as a team in 2007.

Surprising the world at the top of the year with their full length, "Ears Hear Spears" was a great way to sound the alarm for the excitement of new activity. Selective by nature, Insight and Damu's calculations have served advantageous in making moves and presenting listeners with the right music at the right time. The latest incarnation of this truth can be heard in the previously unreleased b-side track entitled "Pyramids to the Ghetto." Although it was recorded in 2008, it was archived and remained unreleased until now. Now in 2017 this particular song couldn't be any more relevant in how the artists analyze the effects racism of the past & present and its correlation to black plight throughout the Americas (both Insight & Damu drop verses on this track).

Continuing narratives of such legends as Public Enemy and Jeru the Damaja in which the track title quotes, the group individually presents short essays in rhyme form that give a candid account of what they've witnessed as black U.S. citizens living in the 20th and 21st Century. Not only are the social effects on the table for examination, but the positive and negative impacts a racist society has had on black contributions to art and culture are discussed. For the songwriters, "Pyramids to the Ghetto" is therapeutic in which harsh realities are confronted in an unapologetic manner contrasting the previous socially charged material in Insight and Damu's back catalog.

For the listeners, it's a history lesson and a call to motivate us all that history doesn't always have to repeat itself even when it's been the norm for centuries. Adversity and oppression historically have hold some back and made some stronger, but acknowledgement is the first step of progression.

The A-Side, "Never Off (On & On)" speaks on just that. It's a roadmap to dealing with everyday adversity, maintaining faith in self and striving to reach your full potential. Insight presents sermons of encouragement to the everyday person over the Fudgemunk's uplifting beat. The producer chimes in on the chorus with a few words of his own that insists to keep on your path and never fall off. The old saying goes, "Life ain't easy", but the group knows success is not unrealistic. "Never Off (On & On)" was the debut single from the debut album, "Travel at Your Own Pace" which has remained a staple in Insight the Truncator's and Damu the Fudgemunk's legacy.

Hindsight captures the magic of what happens when an artist sticks with what they love and shares it with the rest of the world. The 13 tracks epitomize why Breeze has been such an essential voice since he entered the scene. He delivers tack-sharp criticisms of former president Donald Trump (“Devil’s Advocate”) and the music industry (“The Application”), talks his sh*t like only he can do (“Translate It”), and gets deeply personal about friendships (“The Uninvited”) and being a teacher as a person of color (“Taking Notes”). And then there’s a track like “King Oxymoron” that is simply a whirlwind of wordplay.

With this record, Breeze is proving to himself that he can confidently, and ably, work on his own, which was a major sea change for someone who for years collaborated closely with others. “I was at times scared to proceed alone, especially considering the greatness of those I had worked with,” he says. “But it worked out. It’s OK to work with others, and it’s damn sure OK to shut the world out and work with and on yourself.”

Nightmares & Dreams Edition

Your Old Droog is back with another exhilarating hip-hop opus. Fresh off a series of outstanding projects, the prolific rhyme author is now debuting the new album Yod Stewart. Featuring captivating beats by Tha God Fahim, Nicholas Craven, Conductor Williams, Lee Scott, and more, the collection illuminates YOD's world-class songwriting and highly relatable storytelling prowess. Yod Stewart is a conceptual endeavor set within an intriguing narrative context: a recording artist comes across a Rod Stewart wig, takes it home, falls asleep, and becomes the pop star of his dreams. Follow the superstar on his turbulent but ultimately rewarding journey filled with musical meditations on lucid dreaming, keys to success, lost friendships, toxic relationships, teenage heartbreaks, and more. Your Old Droog does it all, again.

Your Old Droog is back with another exhilarating hip-hop opus. Fresh off a series of outstanding projects, the prolific rhyme author is now debuting the new album Yod Stewart. Featuring captivating beats by Tha God Fahim, Nicholas Craven, Conductor Williams, Lee Scott, and more, the collection illuminates YOD's world-class songwriting and highly relatable storytelling prowess. Yod Stewart is a conceptual endeavor set within an intriguing narrative context: a recording artist comes across a Rod Stewart wig, takes it home, falls asleep, and becomes the pop star of his dreams. Follow the superstar on his turbulent but ultimately rewarding journey filled with musical meditations on lucid dreaming, keys to success, lost friendships, toxic relationships, teenage heartbreaks, and more. Your Old Droog does it all, again.

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.



Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice is finally available to fans everywhere. The first in a series of EP releases, Lice featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.

Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

Hindsight captures the magic of what happens when an artist sticks with what they love and shares it with the rest of the world. The 13 tracks epitomize why Breeze has been such an essential voice since he entered the scene. He delivers tack-sharp criticisms of former president Donald Trump (“Devil’s Advocate”) and the music industry (“The Application”), talks his sh*t like only he can do (“Translate It”), and gets deeply personal about friendships (“The Uninvited”) and being a teacher as a person of color (“Taking Notes”). And then there’s a track like “King Oxymoron” that is simply a whirlwind of wordplay.

With this record, Breeze is proving to himself that he can confidently, and ably, work on his own, which was a major sea change for someone who for years collaborated closely with others. “I was at times scared to proceed alone, especially considering the greatness of those I had worked with,” he says. “But it worked out. It’s OK to work with others, and it’s damn sure OK to shut the world out and work with and on yourself.”

With the elements in Hip-Hop divided, Pawz One & Preed One return to their grafitti roots with the new collaboration album “Murals & Mayhem”. Pawz approaches each song as verbal graff piece that covers Preed One’s soulful and gritty background production. The duo bring the color out of topics such as tainted love, friendships, the culture of Hip-Hop and surviving the mayhem of the Los Angeles streets. Adding more to the mural are guests like Guilty Simpson, Copywrite and Ruste Juxx. Blended together each song creates a larger piece that covers the mind walls from top to bottom.

Brooklyn Bred MC and Independent Artist, Kota the Friend, continues to stake his claim in music, collaborating for a no frills, modern nostalgic, sharp, yet witty collaborative album with the legendary DJ, Statik Selektah. ‘To Kill A Sunrise’ arrives via Fltbys Music and Entertainment, accompanied with an introductory visual Kota and Statik released in celebration of the album. A sonic paring that’s been brewing for a few years now, ‘To Kill A Sunrise’ is a PSA, -- as Kota the Friend chants on the opening track ‘I ain't the Kota you first met… I. Can’t. LOSE.’ The confident, independent MC, over the masterful production of Statik Selektah introduces a more seasoned musician, locking his view on success, stepping out of his own way and over all those who doubt the makings of an undeniable voice of a generation. Coming off his ninth studio album, Statik Selektah takes a swing with Kota the Friend. An early co-sign and friendship has produced one of the promising rising MC’s from Brooklyn. Statik’s unique ear and keen eye for talent has made him an undeniable force for both rising rappers and legends. Staying authentic and true to himself, Statik speaks on why this collaboration was essential for hip-hop, saying: The pair show no signs of stopping. Aside from his own music, Statik has continued to make noise through the airwaves on his weekly Thursday night show “ShowOff Radio” on Shade 45 Sirius XM. In addition, he has toured all over the world DJing at festivals or backing music heavyweights like Q-Tip and Nas. From taking on independence and ownership (as discussed with The Wsj), to receiving co-signs from SZA to NoName, including LaKeith Stanfield, Erykah Badu, RZA and many others -- Kota the Friend continues to produce his own music, content, and shows under his label, Fltbys, showing how ‘pressure makes a diamond and depression makes a legend’.

"Boombap Guardians Episode 1" entails a journey through the lifestyle of bringing Hip-Hop culture to our daily lives… not only as independent artists, but as human beings. The notion of social and society collapse, fallen friends, inner peace and the beauty it takes to stay up, true life stories written on paper and expressed through HipHop. Boombap Guardians has improved on the design of sample based Hip-Hop backed by heavy percussion, speaking English and Dutch languages with some serious grime. This project has been many years in the making, although the majoring of the tracks were recorded over the last 3 years. BBG is important to us in the following ways…the beginning of friendships…the end of an era, but truly not forgotten. In many ways Hip -Hop has saved our lives and helped us move forward. Id have to say this project entails how even HipHop can turn strangers into brothers.

Tone Spliff and Melly-Mel met in 2020, the year of the Covid-19 pandemic. Tone had just put out a #FreshStyleChallenge to eMCees on his social media platforms and was impressed with Mel's submission. He decided to collaborate with him on a project, offering Mel the option to cut a joint EP or a full album. Ecstatically, Melly-Mel chose the album route & the pair produced New People; an LP born out of a new friendship, formed in a tumultuous time. Throughout both careers, they’ve worked with heavyweight artists such as: Ruste Juxx, A-f-r-o, Sadat X, Wordsworth, El Da Sensei, Termanology, Skyzoo, Sean Price, Ras Kass, Akrobatik, Thirstin' Howl 3rd, Royce 5'9, Immortal Technique, R.A. The Rugged Man, Inspectah Deck, King Magnetic, Conway The Machine, Planet Asia, Edo G, Saigon, Apathy, Stu Bangas and countless others.

Edo. G & Insight Innovates deliver that raw, jazzy, and true-to-life hip-hop on their self-titled debut album. It’s the culmination of decades of friendship and collaboration, birthed from childhood memories and the early days of the Boston rap scene. And with this 10-track project, both artists sound as hungry and passionate as ever while they deliver one of the year’s best releases to date. For Edo and Insight, that meant more than just “boom-bap” sounds or tight lyricism—it meant bringing everything to the table, including next-level lyricism. As Insight explains, “This project is focused on punchy drums, bass, attractive melodies, and a realistic life message and story from black men in a slowly changing world.” You can hear that mission statement on instant highlights “Choose Your Path” and “It Takes Progress,” with the latter serving as the album’s first leak. With good reason, of course, because Insight and Edo admit that it’s one of their favorites from the record. In addition to featuring some of their best rhymes, it provided a way for them to not just sound off on societal issues but also offer some solutions. But Edo G. & Insight Innovates also succeeds because of the way that simultaneously pays homage to and modernizes hip-hop’s past. There are cultural Easter eggs and outright tributes all over the album, like the absolutely banging “Set It Off (Long Live Kane),” which rightly gives flowers to hip-hop legend Big Daddy Kane. The two also show love to Edo’s own history by reimagining his classic Da Bulldogs joint, “I Got To Have It,” on the standout track “Unite & Let’s All Get Down.” As Insight says, it was part of their shared goal to “make a dope hip-hop album that reflects who we are and what we’re about.” He and Edo met that goal and then some with this release.

Wiz Khalifa, Big K.R.I.T., Smoke DZA and Girl Talk have released their collaborative LP Full Court Press. The product of over a decade-long friendship among the artists, the new album is a timeless and upbeat rap record.

On the project’s lead single, March’s “Put You On,” the group drops bars about the come-up of their respective careers. Leading up to the release, they shared more songs and accompanying music videos, including a visual for the party track “Ain’t No Fun” directed by kee and Bawwse.

“Collaborating with Girl Talk, Big K.R.I.T., and Smoke DZA on this album has been a long time coming,” Khalifa said. “Putting it together and throwing the house party for the “Ain’t No Fun” video was the perfect way to wrap the album.”

Spanning ten singles in total, Full Court Press is a nostalgic throwback, featuring undertones of the seventies and eighties alongside the musical stylings of each individual contributor. The album also packs in an additional guest appearance Curren$y.

After a short digression with High Jon on the beats, Peter Manns is reunited with his Brother of another Mother – Thelonious Coltrane – and they take the standard of the last album (2019) with „ii'nd“ to the next level.

Everybody having seen those two on stage together knows about the energetically explosive chemistry of this extraordinary tag team. Their second LP is characterised by an evolution in sound and lyrics. Thelonious Coltrane’s productions cover an enormous spectrum between perfectly picked, overcompressed loops and brutally driving drumsets. With his self-critical, reflectiv, but also technically phenomenal lyrics, Peter Manns forms coherent songs, which not seldomly exceed the four-minute-mark. Lovingly arranged, with suitable citations and enchantingly applied vocal contributions from Kasia Konstance, many songs of the LP become modern RnB-highlights.

„ii'nd“ creates the taste of fiery life with all of its ups and downs, of friendship, passionate musical-craftmanship and studio sweat by the bucket. We ought to be delighted to soothingly lie in each other's arms to the sound of „Run it Up“ or „Today I Die Again“, as soon as those two will be going on tour. Halleluja!

„Undagawds – II'nd“ drops on 2LP on the 17th June 22 via Sichtexot Records

Better pray!

SXT

The days have become shorter, and the nights are cold and long. Winter season aside, we're living in uncertain times. From politics to healthcare, the rising cost of living and more - apathy and cynicism are the themes of the modern day. Even just getting by has become a demanding daily operation. However, in light of this social despondency, hope can be found between the cracks of the concrete. Hopefully, is a sharp and seductive six-track jolt of upliftment for the weak and weary among us. Sareem's penmanship across the EP is intentional and minces no words about the everyday struggle of surviving and thriving. However, the beauty of the music and message blossoms within the juxtaposition. On the title track, Sareem plays neighborhood hope dealer and wishes health, wealth and strength to one and all. As expected, the song is littered with thoughtful lines ("I hope you never have to code switch so you can blend"), which land firmly in the message received section of the brain. The sermon-like bars continue on Ain't No Time, where Sareem displays calm confidence in the rat race against the hourglass. He deftly reminds the listener that the past is always in the future and time is not to be feared - but embraced. Further introspection can be found on Piece Of The Pie. Sareem enters the center with thanksgiving in his heart, reflecting on the grind's culmination and celebrating the spoils of family and friendship. The mosaic-like production by Madi, who used to go by DJ Allstar, is smooth and spacious - bespoke in its bounce and bop. The former Uprok Records DJ serves up splurges of atmospheric buoyancy that pulsate through the mind, body and soul. The lost art of the head nod returns in a big way, and Madi delivers in an emphatic fashion. All hope aside, the chemistry between Sareem Poems and Madi is a wistful reminder of the sacred nature of the Hip Hop duo. The one emcee and one producer tandem are held dear in Hip Hop culture. These two hope dealers carry on tradition while pushing forward. Written by Christopher Mitchel (Breaking Atoms)

"Boombap Guardians Episode 1" entails a journey through the lifestyle of bringing Hip-Hop culture to our daily lives… not only as independent artists, but as human beings. The notion of social and society collapse, fallen friends, inner peace and the beauty it takes to stay up, true life stories written on paper and expressed through HipHop. Boombap Guardians has improved on the design of sample based Hip-Hop backed by heavy percussion, speaking English and Dutch languages with some serious grime. This project has been many years in the making, although the majoring of the tracks were recorded over the last 3 years. BBG is important to us in the following ways…the beginning of friendships…the end of an era, but truly not forgotten. In many ways Hip -Hop has saved our lives and helped us move forward. Id have to say this project entails how even HipHop can turn strangers into brothers.

A sick 10 track EP of material from Zimbabwe Legit's 2007 album House of Stone including a few instrumentals and extras, handpicked by myself for the heads. Cats will know ZL from their 1996 DJ Shadow mixed Mo Wax release 'Doin' Damage In My Native Language'. The original release dropped in 1991 on Hollywood Basic [Organized Konfusion!] and ZL are often touted as the first African hip hop act to get a US release.



This slept on project from 2007 only had a CD release and was fairly low key at the time. It is mostly produced by Raw Produce's Cadence [R.I.P.]. Little story for you. I was in Beat Street [Fulton Mall, BK] at the time of one of their massive sales. I found one of the Raw Produce EPs there for 10c a pop. I copped about 30 or 40 [!!!]. Flipped em on the bay and a few years later I was digitally accosted by Seth [Cadence] on the DWG Forum. He was like "Did you bootleg my record!!" etc etc. I explained where I got them and after a little back n forth we squashed the beef and agreed to work on something in the future. Shortly after he passed and shortly after that I hooked up with producer DJ Quazar from New England Hip Hop Massive and released the grail which included Seth's first ever recording from 1992. And here we are now...



The features on this one are massive: Mike G from the Jungle Brothers, Mad Skillz, stic.man from Dead Prez, YZ, Prince Po, Breeze Evahflowin, Apani, Emskee and Cadence himself. Beautiful, conscious, jazz infused vibes from the motherland. Stupendous stuff!!!



Big shout out to my man in Canada Gee Roc for putting Dumi [from ZL] onto Herring to make this one happen. Props to all involved!!

Why you'll love it...
Fat Tony and his friend & producer Taydex are release their new album I Will Make A Baby in this Damn Economy. On this new album, Fat Tony embodies the kind of quixotic figure he would rap about; a singular entity who’s motivated, confident, and hungry; a perpetual-motion-machine locked in a staring contest with his country. The album's featured artists include Paul Wall, B L A C K I E, Cadence Weapon, Harriet Brown, and B.K. Habermehl.

Limited to 200 copies, the VMP exclusive version of Fat Tony & Taydex's I Will Make a Baby in this Damn Economy is pressed on "Dodger Blue" vinyl at Precision Record Pressing. The 1LP will arrive in a single, direct-to-board, foil-stamped and numbered jacket with a download code.

Limited to 300 copies, only available at HHV!

Celebrated producer and musician Danger Mouse and prodigiously
talented New York rapper Jemini are gearing up to release their long
delayed collaborative album, Born Again
Remarkably this soul and funk infused hip-hop tour de force arrives two decades
after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th
anniversary this year.
Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and
Jemini began to tour and to write and record Born Again. Finally, having been
recorded two decades ago and indefnitely shelved until now, Born Again will
fnally be released to coincide with the twentieth anniversary of Ghetto Pop Life.
The previously unheard record retains many of the elements of Danger Mouse
and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a
noticeably more introspective and confessional tone. This time, in addition to
lighthearted topics such as being an incredible artist (Knuckle Sandwich II,
Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini
also delivers highly- personal and occasionally devastating lyrics about missed
opportunities and redemption (All I, Born Again), his time in prison (Locked Up)
and complicated relationship with his father (Dear Poppa).
His effortless free fowing cadence and indelible sing-song delivery elevate each
track with a melodic infectiousness whilst Danger Mouse exhibits an afnity for
resonant instrumentals built from sampled organ, vibraphone, or guitar loops and
infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.

Celebrated producer and musician Danger Mouse and prodigiously
talented New York rapper Jemini are gearing up to release their long
delayed collaborative album, Born Again
Remarkably this soul and funk infused hip-hop tour de force arrives two decades
after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th
anniversary this year.
Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and
Jemini began to tour and to write and record Born Again. Finally, having been
recorded two decades ago and indefnitely shelved until now, Born Again will
fnally be released to coincide with the twentieth anniversary of Ghetto Pop Life.
The previously unheard record retains many of the elements of Danger Mouse
and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a
noticeably more introspective and confessional tone. This time, in addition to
lighthearted topics such as being an incredible artist (Knuckle Sandwich II,
Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini
also delivers highly- personal and occasionally devastating lyrics about missed
opportunities and redemption (All I, Born Again), his time in prison (Locked Up)
and complicated relationship with his father (Dear Poppa).
His effortless free fowing cadence and indelible sing-song delivery elevate each
track with a melodic infectiousness whilst Danger Mouse exhibits an afnity for
resonant instrumentals built from sampled organ, vibraphone, or guitar loops and
infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.

Celebrated producer and musician Danger Mouse and prodigiously
talented New York rapper Jemini are gearing up to release their long
delayed collaborative album, Born Again
Remarkably this soul and funk infused hip-hop tour de force arrives two decades
after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th
anniversary this year.
Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and
Jemini began to tour and to write and record Born Again. Finally, having been
recorded two decades ago and indefnitely shelved until now, Born Again will
fnally be released to coincide with the twentieth anniversary of Ghetto Pop Life.
The previously unheard record retains many of the elements of Danger Mouse
and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a
noticeably more introspective and confessional tone. This time, in addition to
lighthearted topics such as being an incredible artist (Knuckle Sandwich II,
Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini
also delivers highly- personal and occasionally devastating lyrics about missed
opportunities and redemption (All I, Born Again), his time in prison (Locked Up)
and complicated relationship with his father (Dear Poppa).
His effortless free fowing cadence and indelible sing-song delivery elevate each
track with a melodic infectiousness whilst Danger Mouse exhibits an afnity for
resonant instrumentals built from sampled organ, vibraphone, or guitar loops and
infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Celebrated producer and musician Danger Mouse and prodigiously
talented New York rapper Jemini are gearing up to release their long
delayed collaborative album, Born Again
Remarkably this soul and funk infused hip-hop tour de force arrives two decades
after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th
anniversary this year.
Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and
Jemini began to tour and to write and record Born Again. Finally, having been
recorded two decades ago and indefnitely shelved until now, Born Again will
fnally be released to coincide with the twentieth anniversary of Ghetto Pop Life.
The previously unheard record retains many of the elements of Danger Mouse
and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a
noticeably more introspective and confessional tone. This time, in addition to
lighthearted topics such as being an incredible artist (Knuckle Sandwich II,
Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini
also delivers highly- personal and occasionally devastating lyrics about missed
opportunities and redemption (All I, Born Again), his time in prison (Locked Up)
and complicated relationship with his father (Dear Poppa).
His effortless free fowing cadence and indelible sing-song delivery elevate each
track with a melodic infectiousness whilst Danger Mouse exhibits an afnity for
resonant instrumentals built from sampled organ, vibraphone, or guitar loops and
infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Originally scheduled for release way back in March 1996, “The Raw Factor” by North Carolina native Omniscence is one of the last of the unreleased mid-90’s albums to see the light of day. Despite being awarded The Source’s coveted “Hip Hop Quotable” and dropping two well-received singles (“Amazin” and “Touch Y’all”), record label politics meant the full-length “The Raw Factor” album was never released and fans were left wondering what might have been. 28 years later, “The Raw Factor” is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90’s Hip Hop. Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was “The Raw Factor” album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums. Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.

Before last years's comeback with FOR THE FKN LOVE they came back with DONT'T FIGHT YOUR DEMONS.Ruffnation Entertainment is proud to present the Grammy-winning Hip Hop Legends Arrested Development 2022 album, Don't Fight Your Demons reissued on vinyl!Arrested Development, the 2x Grammy Award Winning, groundbreaking iconic music group, and Hip Hop pioneers continue their forward march of curating conscious, revolutionary music formulated to bring societal issues to the forefront and ignite change. Their 2020 album, 'Don't Fight Your Demons', which originally saw only a limited release, is no exception. The 16-track album features a selection of eclectic musicians including Kuf Knotz, Skyy High, Christine Elise, O'hene Savant, Rambo, Let The Dirt Say Amen, Fro Magnum Man, MRK SX, and is executively produced by Speech for Vagabond Productions and Configa for Configaration Records.The group assures fans and listeners this is no hit or miss album. Each track is distinct in style, flow, and vibe, with influential wordplay and infectious soundscapes. They breakdown and take apart worldly injustices, the current state of racism, grueling masks of politics, and on the flip side offer empowering gems on how to overcome and rise through.The production throughout the entire album channels a continuous kaleidoscope of invigorating bass, soul, funk, worldly tones, and even innovative cadences ear-pleasing to a younger generation of music connoisseurs. Don't Fight Your Demons' ideally serves as a "how-to" handbook brimming with incomparable lyricism, storytelling, and cognizant awareness delivereFFO Fugees, Dream Warriors, Roots, Speech, Del a Soul, Black Eyed Peas - pressed on one red colored and one classic black vinyl record.

"Blackmarket Seminar", an album by Kazi and entirely produced by Madlib. Guest features by Madlib, MED, Wildchild, Declaime (Dudley Perkins) and Oh No. The album was recorded in 1996 and now digitally remastered in 2016 and re-remastered in 2021.

Kazi says: We recorded this album in the wee hours at CDP studios back in ‘96. It was pretty much me, Madlib and Declaime in the lab when this album was recorded.

I learned so much from Lib cadence, rhyme patterns, timing and how to dig for records. What some people don’t know is this cat actually took the time to show me how to make beats. I must say working with Lib was an amazing experience. The “Blackmarket Seminar” is a very raw and dark album. We came up with “Black Market” because at the time we were doing Hip Hop that nobody else was doing and to us you could only get it on the “Black Market”. When you first play the album you'll hear characters on a skit in search of the black market seminar. We really tried to make it seem like the characters were outside walking around looking for it.

We recorded a new video for the song “To Be Lost” as it is about MCs selling out to remain in the game and still makes perfect sense in the present day.

“This is me at my most imaginative, freakiest, and yet still most grounded and introspective,” says Japanese American rapper/actor Lyrics Born not only about his new album Vision Board, but also his “self” and his existence. “I feel like a new man! I’m healthier physically, spiritually, mentally, and emotionally.” The lead single and video “Diamond Door” is a pop/rap banger that lands you with an infectious barb and keeps you hooked for days, and is a thinly-veiled tribute to a particular style of female appreciation, but it can also be taken as a welcome mat to the new era of Lyrics Born. The accompanying video which shows Lyrics Born in his current physical form - svelte, stylish and with a confident swagger - reinforces this next chapter in his life. 60 pounds lighter, he lost the weight during the pandemic when he knew he needed to make a change. “Touring was becoming harder, and I was having all these weird health problems, but nothing that anybody could put their finger on,” he explains “My anxiety was high. I was not sleeping well. I was on the verge of really bad health.” And this improvement brought more confidence which shows in his new album. Vision Board is a focused affair that found him stretching his creativity farther and challenging himself to write in a way he’s never written before. Recorded primarily in New Orleans and produced by Rob Mercurio of Galactic (who also produced 2015’s Real People and 2018’s Quite a Life), it posited him in a new environment that helped his creative juices flow even more fluidly. “There’s nothing like recording in the Crescent City. It just gets in your blood, and the results are always funky and wild.” “This is about as psychedelic as I’ve ever been,” LB says. “I’m so proud of this album. I’m in a different space. The world is in a different space, and I wanted to celebrate that, loosen up and really create some imagery and share some emotion that I never have. I was listening to a lot of Shuggie Otis; a lot of obscure psychedelic soul and later Temptations,” he explained. “This is like if Alice in Wonderland was Japanese.” Vision Board was also inspired by another Bay Area rap luminary, although one who’s no longer with us - Gift of Gab. The dexterous Blackalicious MC and fellow Quannum Projects alum had a profound effect on Lyrics Born’s life, both creatively and philosophically. “I asked myself on some of these songs: ‘How would Gab approach them?’” he said. “I’d play with certain cadences, certain styles; I tried to stretch stylistically, lyrically and vocally on every single song. None of the patterns are the same.” Lyrics Born’s vulnerability shines through on the nine-track effort, something he’s not ashamed to admit (nor should he be). At one point during the pandemic, he was losing one friend, peer or family member every other week - from Zumbi of Zion I to Gift of Gab to Digital Underground’s Shock G. While many of the songs are deeply introspective, he had to “write some fun shit,” too. Celebratory horns, uptempo rhythms and fiery bars pepper the project from start to finish, and truly encapsulate Lyrics Born’s evolution of not just a groundbreaking Asian-American MC but also a human being. As the only Asian-American MC to release 10 studio albums, the first Asian-American to play major music festivals like Coachella and Lollapalooza and the first Asian-American to release a greatest hits compilation, Lyrics Born has been breaking barriers his entire life - and he’s not going to stop anytime soon. From the bombastic and tribal “I’m the Best Rapper in the World” with its self-winking boastfulness to the playful scat of “Bang Bang Bang” that slinks like an outtake from West Side Story, to the smooth and seductive “Who's The Best? (Dear Young LB)," to the psychedelic and swoony ”Alligator Boots” with it dreamy “Walk on the Wildside”-esque reverby sway, Vision Board sees Lyrics Born tackling different tones, textures and genres without fear and making them completely his own. It's an eclectic body of work that boasts more synths, more psychedelia and is generally more abstract.

Limited Edition of 1.000 copies on colored blue / white 12" vinyl.

Kota the Friend's album "Foto" is a must-listen for fans of introspective and thought-provoking hip-hop. The album is various snapshots of Kota‘s life, an endearing invitation to the mind and mood of the NYC MC. With smooth beats and honest lyrics, the Brooklyn rapper takes listeners on a journey through his personal experiences and struggles, touching on topics such as mental health, relationships, and the challenges of pursuing a career in the music industry. Featuring collaborations with talented artists like Saba, "Foto" showcases Kota's versatility as a rapper and his ability to craft compelling stories through his music. Whether you're a longtime fan or new to Kota's music, "Foto" is an album that should not be missed.

For an hour, "Foto" flows like the gentle whisk of a breeze or the soft lapping of the waves. The project features mellow soundscapes with similar cadences to Australian producer Origami Beats, a carefully-curated selection of jazzy, lo-fi hip-hop replete with fuzzy static and spacious melodies.

Features with Saba, Hello Oshay, Lizzy Ashliegh, Isa Reyes & Richard Parker.

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

This newly formed trio composed of Philly Hip Hop Legend ”Rahsheed aka Maylay Sparks”, newcomer “Chukk Rukkuz” and rapper/producer “K-Sluggah” from the squad known as Muddy Fatique, have joined forces to form the “Hood Thrill Hunters”. This 10 track urban reprise was entirely produced by Karl “K-Sluggah” Frigyes and is a must have!

K-Sluggah, an MC and beatmaker whose origins lie in the city of Malmö in Sweden, is part of the Muddy Fatique collective that’s revered in Sweden for sharp rhymes over rugged beats. In 2007 K-Sluggah started taking his beat-making craft more serious. His preferred weapons of choice are the classic beat machines ASR-10 and MPC 2500 and of course some dusty old records to go along. The result is a production style which is sample based, soulful, rugged and raw. He has released numerous projects with his ”Muddy Fatique” partners both behind the mic and behind the boards. On this particular project K-Sluggah exibits his talents by composing some of the illest breaks, tripped out bass lines and synth tones with the help of Jack Winge, studio aficianado and bass player, who also contributed to the 2013 release ”Spit On It”.

Last year he released the LP “Twin Cannons“ with NY rapper John Jiggs which was very well received in the underground circuit. He also has notable past work with Hus kingpin, Maylay Sparks, Granddaddy I.U, Mykill Miers, Tha God Fahim, Mach Hommy, Rozewood, Monsta Mook and Shady Records signees Westside Gunn & Conway.

Maylay Sparks delivers as usual, with his trademark dynamic, swift, and descriptive delivery over broken melodies, accompanied by riffs ranging from Balkan jazz clips to 70’s Vietnamese soul. His counterpart Chukk Rukkuz, whose fierce and aggressive flow with a hint of the golden era style cadence, is the perfect match for every selection. Features include John Jiggs, Rucker P.A.W.K, and Rocc Spotz (now known as Rocc Boogie) who is yet another heavy hitter from the Muddy Fatique team. The music is accompanied by the precise turntable assistance from Italy’s finest and most respected DJ, Bassi Maestro.

The artwork is a very personal touch, it's the Avenue Maylay Sparks grew up on as a kid during the 70's in Philly and it’s actually a cartoon of an actual picture.

As an added bonus the elpee will include an extra track, an insane posse cut that will feature Conway the Machine to close off the project. Limited to only 300 copies!

When THE Past Bloomed is the latest offering from Goya Gumbani. Born in Brooklyn and currently living and making music in South London, over the last 3 years Goya has built a reputation as a soulful lyricist who blends jazz, soul and hip-hop into a modern inclusive fusion ripe with personality and heartfelt emotion.

The seven track project introduces us to a more expansive side of Gumbani’s craft with a considerable shift in tone and a freshness in perspective. An aural journeying across different lands via disparate voices re-establishes Goya’s attachment to London, New York and Guyana, respectively. Lessons, blessings and loss line the verses, ‘freedoms when the doves fly over the dew’ capturing a candidness in his delivery and shedding that has been hinted at on past projects.

Goya enjoys support from an array of skilled musicians in his orbit including Pink Siifu, John Glacier, LEX Amor and Lord Apex production comes from August Fanon, Omari Lyseight and Pablo Pullen among others. All the instrumentals on the EP bounce with a comfortable cadence and assured skill.

The cover is an original composition by Elijah Maura and depicts tender relationships and the affirmation they provide.

When THE Passed Bloomed is accompanied by two singles both with videos directed by Ivor Alice and art direction by Goya himself.

Cloth & Polish was released in May and has been supported by radio and built a loyal following that appreciate the refined aesthetic Goya has created.

The next single and video BYE BYE BYE transports us to a scene that wouldn’t feel out of place in London or New York; where friends and acquaintances gather to converse, to reason and to barter over winnings during a game of penny up. With its striking colours and playful framing, the video captures networks of connection within the tones of a warm Summer evening, its subjects in a reflective and celebratory mood.The song itself sees Gumbani trade verses alongside UK artists THE Hotel and Lord Apex, with foggy production from psi.i.

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

“This is me at my most imaginative, freakiest, and yet still most grounded and introspective,” says Japanese American rapper/actor Lyrics Born not only about his new album Vision Board, but also his “self” and his existence. “I feel like a new man! I’m healthier physically, spiritually, mentally, and emotionally.” The lead single and video “Diamond Door” is a pop/rap banger that lands you with an infectious barb and keeps you hooked for days, and is a thinly-veiled tribute to a particular style of female appreciation, but it can also be taken as a welcome mat to the new era of Lyrics Born. The accompanying video which shows Lyrics Born in his current physical form - svelte, stylish and with a confident swagger - reinforces this next chapter in his life. 60 pounds lighter, he lost the weight during the pandemic when he knew he needed to make a change. “Touring was becoming harder, and I was having all these weird health problems, but nothing that anybody could put their finger on,” he explains “My anxiety was high. I was not sleeping well. I was on the verge of really bad health.” And this improvement brought more confidence which shows in his new album. Vision Board is a focused affair that found him stretching his creativity farther and challenging himself to write in a way he’s never written before. Recorded primarily in New Orleans and produced by Rob Mercurio of Galactic (who also produced 2015’s Real People and 2018’s Quite a Life), it posited him in a new environment that helped his creative juices flow even more fluidly. “There’s nothing like recording in the Crescent City. It just gets in your blood, and the results are always funky and wild.” “This is about as psychedelic as I’ve ever been,” LB says. “I’m so proud of this album. I’m in a different space. The world is in a different space, and I wanted to celebrate that, loosen up and really create some imagery and share some emotion that I never have. I was listening to a lot of Shuggie Otis; a lot of obscure psychedelic soul and later Temptations,” he explained. “This is like if Alice in Wonderland was Japanese.” Vision Board was also inspired by another Bay Area rap luminary, although one who’s no longer with us - Gift of Gab. The dexterous Blackalicious MC and fellow Quannum Projects alum had a profound effect on Lyrics Born’s life, both creatively and philosophically. “I asked myself on some of these songs: ‘How would Gab approach them?’” he said. “I’d play with certain cadences, certain styles; I tried to stretch stylistically, lyrically and vocally on every single song. None of the patterns are the same.” Lyrics Born’s vulnerability shines through on the nine-track effort, something he’s not ashamed to admit (nor should he be). At one point during the pandemic, he was losing one friend, peer or family member every other week - from Zumbi of Zion I to Gift of Gab to Digital Underground’s Shock G. While many of the songs are deeply introspective, he had to “write some fun shit,” too. Celebratory horns, uptempo rhythms and fiery bars pepper the project from start to finish, and truly encapsulate Lyrics Born’s evolution of not just a groundbreaking Asian-American MC but also a human being. As the only Asian-American MC to release 10 studio albums, the first Asian-American to play major music festivals like Coachella and Lollapalooza and the first Asian-American to release a greatest hits compilation, Lyrics Born has been breaking barriers his entire life - and he’s not going to stop anytime soon. From the bombastic and tribal “I’m the Best Rapper in the World” with its self-winking boastfulness to the playful scat of “Bang Bang Bang” that slinks like an outtake from West Side Story, to the smooth and seductive “Who's The Best? (Dear Young LB)," to the psychedelic and swoony ”Alligator Boots” with it dreamy “Walk on the Wildside”-esque reverby sway, Vision Board sees Lyrics Born tackling different tones, textures and genres without fear and making them completely his own. It's an eclectic body of work that boasts more synths, more psychedelia and is generally more abstract.

Limited edition vinyl!
Check out this dope LA material!

Stranger Danger from North East LA hit Chopped Herring up with a project and it completely blew them away. Ridiculous break selection from and drug-fueled, hedonistic comedy from MC's Denzer, X-press & Stranger. What a treat this one is. There is definitely more to come from Mr Danger in 2018, no doubt!!
Stranger Danger started producing in the year 2000 and his first beat machine was a Boss SP 505, but he always collected vinyl since as early as the age of five when his parents bought him the first Fisher Price, Toys R Us record player.
Danger started freestyling and writing rhymes in 1995, but didn't actually start recording or mixing until 2001. He formed tha Roach Killaz in 2016 after his younger cousin X-Press told him that he and his homie Denzer wrote and spit ill rhymes as well.
During this time Danger was recording at a friend’s studio called The Halfway House where he met a 20-year old MC and producer named Saker, who he took under his wing as his protege to help him with production on the album.
In another studio session shortly after meeting, Saker brought his homie named Duer, and that’s when the puzzle pieces aligned perfectly and they knew they had something special. All of their influences are very similar. If it sounds dope, then it is! Greatest influences growing up were MF Doom, Kool Keith, DJ Premier, Kutmasta Kurt, RZA, Apakalypse, Necro, and DJ's like DJ Shi'iteand DJ Rob One.
The recording process is simple, let Mc's go at it until you hear something that you feel can help them sound better, whether it be vocal fluctuation, vocal tone, cadence, or energy.
Too much pride is a “no no”, it's all about doing whatever it takes to make the illest records possible. Stranger Danger digs or listens to music from all era's and over the world and studies music for at least six to eight hours a day, so what keeps him inspired daily is the opportunity to find incredible samples to flip.
It's an obsessive disposer but therapeutic at the same time. He used to have small intense spurts of creating, but now it's an all the time thing as he works on three to four albums at the same time constantly and always tries to top the album he did last.
X-Press, Denzer, and Stranger Danger are all Highland Park natives, (North East Los Angeles). Duer and Saker are originally from the San Gabriel Valley, which is in Los Angeles county as well! - Tha Roach Killaz, Killin Roaches.

From the producer of the Traffic, Choi brings his debut Hip Hop 45 on CHoi Records called Hip Hop Saved My Life feat. Guilty Simpson.

Side A Hip Hop Saved My Life feat. Guilty Simpson (100 bpm)

The A side has a super hot ol skool runnin' beat with horn samples, scratching, bass, Hammond organ and even some 80s realistic synth(made by Moog) thrown in. On top of that Guilty Simpson's flow and cadence is impeccable as always. The Bvs by Thando add that touch of RnB and add punch to the chorus. This is a sonic floor shaker of a HipHOp Track and sure to heat up the dance floor for those who want to sweat it out.

Side B Hip Hop Saved My Life feat. Guilty Simpson - Space Remix (90 bpm)

B Side This Boom BAP stye changes the feel up going into a crunchy, crusty drum groove with claps and clanks and spacey back drop. The bass in this track is heavy and is a heavy feature of the track. Bvs by Thando beef up the chorus into a great anthem and add sass and RnB flavor throughout. Synths and other precussion add the toppings. This Boom Bap style is a def neck breaker for the hip hop club floor!!

NBN Archives’ second reissue is the debut - and sole - LP of Bay Area group – i.f.A aka International Family Affair. A lethal fusion of G-Funk and R&B, this self-titled album was first released on Rollin Record Enterprises in 1997. After having dropped their first single on Capitol in 1996 and being shelved right after, band-leader Derrick Shaw had the plan to start over his i.f.A project independantly. With roots in and around Oakland, East Palo Alto and Stockton, it was only a matter of time before these musical minds would meet to form their own “Family Affair.” Derrick Shaw aka D-shoot was a vocalist and musician with a well-known band called Kashmir before he met the self-dubbed Godfather. After an introduction on the basket-ball court, the two became friends and immediately went to work flushing out many of D.’s musical concepts. In stepped Bias, a rapper born into the game. His versatile rap styles blended perfectly with i.f.A.’s old school Funk and R&B vibe. SOS, a rapper from the streets of Oakland with a unique cadence, added his “gangsta rap” and “rough edge” background which compliments the style of i.f.A. Produced by D-Shoot and Ivan Johnson this LP is loaded with rapping and singing backed with smoothed-out instrumentals that gives off that "laid-back/bumping" vibe with that "something for the ladies". “It’s so different you can’t help but like it. We will appeal to a wider fan base because we’re not trying to sound like every other act coming out.” - D-Shoot.

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Now the vinyl for Danny Watts' "Black Boy Meets World" on Jonwayne’s imprint Authors Recording Company. Beats were supplied in full by Jonwayne, creating the environments that mesh to Danny Watts’ introspective lyricism and soulful cadences on the mic. The Houston based rapper has created a body of work that details his life experiences with an honest and uncompromising lens, jumping out of the Authors Recording Company gates as the first release after the critically acclaimed Rap Album Two.

Danny Watts and Jonwayne recently captured Black Boy Meets World in the span of only a week, recording the 11-track LP at the Los Angeles recording facility Cosmic Zoo. Danny also wrote all of the lyrics to the album in this same window, finishing up to three songs per day as the Cosmic Zoo sessions occurred in an intense yet efficient form. Mixing and mastering was completed by Low End Theory’s Daddy Kev and artwork was supplied by Authors’ creative director Shane Sakanoi. With executive oversight and production on every track supplied by Jonwayne, guest contributions and features include Ray Wright of Warm Brew, DIBIA$E, Leaving Records’ Kiefer, Dr. Octagon collaborator Juan Alderete de la Pena, Zeroh, and many others. The overall effect presents the ethos of hip-hop’s many forms, pulled into the weight of classic sounding kicks, snares, hi-hats, basslines, keys, synths, and horns.

Hypersonic is the interstellar meeting of like-minded funky people. A conceptual album puzzled together by the creativity of BluRum13's introspective yet cadence-driven rhymes and Inkswel's forward-thinking yet reminiscent boom bap production. The two originally met back in 2007 at a One Self gig in Adelaide at the now defunct Crown & Sceptre Venue, a young Inkswel was captivated by the dope beats and rhymes and funnily stayed around after the show to enjoy cake and chai tea a fan had made lovingly for the One Self crew. Years later Blu and Inks reconnected over admiration of each other's music and work ethic and dropped a small EP, with talks for years later to build more - Hypersonic is that present destination. The album blasts off with a classic inspired hip-hop scratch introduction, featuring international turntablist DMC champion-legend DJ Woody waxing on the 1's and 2's manipulating the listening instructions for the aural journey ahead. The title track, Hypersonic sparks interest with ear-grabbing drum roll and brass hits bringing attention to Blu's opening bar, "My mind state to rhyme great" Enlisting rising Folk-Soul singer Georgia Oatley for the luscious chorus and call and response gives us a good grasp of the album's tone, as we cruise its universe. 'Can U' drops next, as a clever ode to A tribe called Quest, you can feel the pull of planet Native Tongue as you fall into the gravity of the tracks feel good, jazzy, nature. The track is rounded off masterfully with DJ Woody's refined and experimental pitch-based scratching. A few guest stars drop science throughout the album but it flows back to solo adventures, not relying on these stellar collaborations - With an emotional note to self on Rum13, funky moments on 'Set It Out' and 'Hustle' and deep thinking cuts like 'Love To The People' & 'Yes'. The album is closed out with an ode to NYC Hip Hop graffiti legend Fab 5 Freddy 'Collect All Coins'- Blu's most lyrically fierce moment on the record brings us home with the same enthusiasm and sense of adventure as when we left.

A 12 track LP featuring legendary crew members Awol One & Abstract Rude, 2Mex OMD, Ceschi of Fake Four Inc., Dannu of the Visionaries, Scvtterbrvin RLK, Megabusive Exalt The Anti, Ecid of Fill In The Breaks, Otherwize, Quaesar & Monstroe Project Blowed! This album covers a broad spectrum from golden era boom bap vibes, to bona fide inner battles, trials with words to live by, and straight up battle raps!

DJ JahBluez lays a heavy foundation with diverse production and scratches that couple perfectly with Gel's relentless cadence and rhyme schemes to make for a Hip Hop classic!”

The Last Poets are widely credited as the godfathers of Hip-Hop. Transcending Toxic Times is the album that fully defines their careers and legacy. Artfully recorded and produced by Jamaaladeen Tacuma (Ornette Coleman), the album intertwines the groove of Black culture with The Last Poets powerful words and cadence. Special Guests Malik B, Ursula Rucker, Tim Motzer, and Wadud Ahmad. This record will finally define the correct blend of poetry, jazz, Hip-Hop, and Soul, with the full expectation that it will be emulated for years to come.
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With the original UK 7” of this release now as rare as hen’s teeth, and with the group having recently ‘reformed’ for one last album together, the Mr Bongo replica re-release of this 1990 masterpiece by Gang Starr couldn’t be more timely.
The now-legendary duo of DJ Premier and Guru dropped this at the height of hip-hop’s sampling of jazz, which had led to a creative leap forward for the genre. Yet while others plundered in the dark, this instant classic wore its influences on its sleeve and paid verbal homage to the musicians they were sampling. The “melodious funk” of “Thelonious Monk” gets namechecked, while the track samples two of his records, including 1958’s Bop gem ‘Light Blue’.
While both versions presented here have common elements, the ‘Movie Mix’ – so-named for the song’s appearance on the soundtrack to Spike Lee’s mythic jazz biopic ‘Mo’ Better Blues’ – goes in a few different directions to the ‘Video Mix’. Rather than just drop in an instrumental for the B-side, DJ Premier instead shows his versatility by switching up the base track (Kool & The Gang’s 1971 ‘Dujii’) and layering in other samples. In more ways than one, his virtuosity here echoes the improvisation of a jazz musician, akin to Denzel Washington’s Bleak in the movie.
Of course, he’s not the only show in town. The late Guru’s voice is as mellifluous as an instrument itself here, his potted history of the genre and the artists of jazz delivered with his own unmistakable cadence. Without this record, would he have gone on to make his ‘Jazzmatazz’ projects.